Sunny f/16 Rule


Earlier this summer, I as testing my Toyo 500mm lens, happened to stop by at the Lady Bird Johnson Park off GW Parkway. The Navy memorial is located at one end of the park. Park affords a great view of the Washington Memorial and the Jefferson Memorials across the Potomac river. The other lenses I had that day were the Zuiko 200mm f/4 and the Zuiko 35-70mm f/4 and the reliable old Olympus OM-2. I figured it would be a great to be able to compare the lenses, so busily switched lenses for these shots – the early summer evening ensured that there was lots of light on the Memorial buildlngs, but most of the Potomac river was in shadow. It was a challenge to handhold the Toyo Fivestar 500mm lens for the shot of the Washington Memorial. Next time I’ll remember to lug a tripod along.


Zuiko 35-70mm f/4 at 35mm
Zuiko 35-70mm f/4 at 70mm
Zuiko 200mm f/4
Zuiko 200mm f/4
Toyo 500mm f/8 at f/11
Toyo 500mm f/8 at f/11
Zuiko 35-70mm f/4 at 70mm
Zuiko 200mm f/4
Toyo 500mm f/8 at f/11

Photographed with an OM-2, Zuiko 35-70mm f/4, Zuiko 200mm f/4, Toyo Five Star 500mm f/8. Film was Fuji Superia 400, and exposure was calculated with the Sunny 16 rule. Exposure for all 3 lenses was 1/500 at f/11, using a Polarizer.


text and images © 2007 ajoy muralidhar. all names, websites, brands and technical data referenced are the copyright or trademark of their respective owners.
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First roll off my Olympus 35 RC. I finally got around to changing the seals on this old mechanical beauty – the Olympus 35 RC was one of the last mechanical Rangefinders that Olympus made. The RC has an Auto mode – it’s a shutter priority system. You set the shutter speed, and when the camera is on Auto, it will set the Aperture. I prefer using the Sunny 16 rule, and was glad that the RC offered a manual override that allows me to set the aperture as well.

I was very curious about this particular camera – it’s very similar to my Ricoh 500G, and I had been looking for an Olympus rangefinder for a long time. The camera is a joy to use.. the operation feels smooth and precise, and feels comfortable in the hand. The Olympus RC details are in the in the Olympus Cameras page along with a description.

All of these pictures were taken near my brother-in-law’s house in North Potomac, and in the grounds of the park adjoining the neighboring Dufief School. As can be seen, the lens on the Olympus RC is outstanding. I love the way it renders the Fall colors. These old cameras had single coated lenses, and that did something magical for the color and bokeh given the right lighting. This is something that I feel the new multi-coated glass/optical plastic lenses cannot replicate. But again, maybe it’s just my imagination.


Olympus 35 RC
Olympus 35 RC
Olympus 35 RC
Olympus 35 RC
Olympus 35 RC
Olympus 35 RC
Olympus 35 RC
Olympus 35 RC
Olympus 35 RC
Olympus 35 RC
Olympus 35 RC
Olympus 35 RC
Olympus 35 RC
Olympus 35 RC
Olympus 35 RC
Olympus 35 RC

Olympus 35 RC
Olympus 35 RC
Olympus 35 RC
Olympus 35 RC
Olympus 35 RC
Olympus 35 RC
Olympus 35 RC

Photographed with an Olympus 35 RC rangefinder camera, Fuji Super 200. Exposure was 1/250 at f/8 and f/11


text and images © 2007 ajoy muralidhar. all names, websites, brands and technical data referenced are the copyright or trademark of their respective owners.
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Sauter’s Delight is a farm located just outside of Westminster, MD on Old Bachman’s Valley Road. It’s very picturesque, and I have photographed it several times. Also, since it’s easily accessible, because it’s easy to park by the roadside without having traffic whizzing past all the time. These were taken over the course of the year, from Late Winter through Early Summer to Late Summer with different cameras, lenses and film using the Sunny 16 rule.


Late Winter, OM-1, Zuiko 50mm f/1.8
Late Winter, OM-1, Zuiko 50mm f/1.8
Early Summer, OM-2, Vivitar 24mm f/2.8
Early Summer, OM-2, Sigma 35-105 (60mm)
Late Summer, OM-2, Zuiko 200 f/4
Late Summer, OM-2, Zuiko 200 f/4

Photographed with an OM-1 and OM-2 Camera, Zuiko 50mm f/1.8, Sigma 35-105mm, Zuiko 200mm f/4 and Vivitar 24mm f/2.8 lenses on Fuji 200 and Fuji 400 film. Exposures ranged from 1/500 at f/16 to 1/250 at f/8


text and images © 2007 ajoy muralidhar. all names, websites, brands and technical data referenced are the copyright or trademark of their respective owners.
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This old farmhouse and barn sits just outside of Westminster, a couple of miles north of the town. I usually drive that route when I want to take a more scenic way into the town, instead of taking MD Rte 97 south from work. This is a very accessible site, just off the road, with easy parking… there aren’t many vehicles around that road (except on Mondays, when a nearby auction house is holding their occasional outdoor and barn auction). I’ve photographed this barn many times over the past year. The pond, well and barn always stop me dead in my tracks., and I pull over for a couple of minutes just savoring the view.

OM-2, Vivitar 24mm 1/500 at f/16, Fuji 400
OM-2, Vivitar 24mm, 1/500 at f/16, Fuji 400
OM-2, Sigma 35-105mm f/1.8, 35mm 1/500 at f/16, Fuji 400
OM-2, Zuiko 50mm, 1/500 at f/16, Fuji 400
OM-1, 50mm f/1.8, Fuji 200
Ricoh 500G, 1/250 at f/16 Fuji 200
Ricoh 500G, 1/250 at f/16, Fuji 200

Photographed with an OM-2, (Vivitar 24mm, Sigma 35-105mm, Zuiko 50mm f/1.8) OM-1 (50mm f/1.8) and Ricoh 500G


text and images © 2007 ajoy muralidhar. all names, websites, brands and technical data referenced are the copyright or trademark of their respective owners.
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I found this little camera on eBay a few months ago, and just got around to running a roll through it. It was in generally good condition, even had a tiny 22.5mm UV filter on the Zuiko 28mm f/3.5 lens. The reason I took so long to clean up this camera was the light seals – the Pen EE has a slide-off back cover, not hinged like a traditional camera – so there is a very substantial seal required on the inside of the bottom cover. My curiosity about the camera finally made me give in and get the seals done.

Yoshihisa Maitani designed the Pen EE. Maitani gained fame as the designer of the exquisite Pen F interchangeable lens cameras and the legendary Olympus OM series cameras. The Pen camera dates back to 1959, but the Pen EE is from 1961. Olympus went on to make many more versions of the ‘automatic’ Pen EE cameras all the way into the 1980’s.

There were 2 versions of the first Pen EE, I have the older version with “Olympus” across the front, instead of “Olympus PEN”. The original version also has the leatherette cover instead of the ‘basket weave’ covering of the later model. One more difference – the older Pen EE has a 1/60 second shutter speed while the later basket view Pen EE has 2 shutter speeds – 1/250 for the Auto mode and 1/30 for the Flash setting.

The Pen EE is a Half Frame camera – that means 2 images for each frame of 35mm film. The 35mm format is 24x36mm, so half frame is 24x18mm in vertical format. It’s a small image, but the 28mm Zuiko lens is sharp enough to enable nice quality prints up to 8 x10 inches if used with a tripod, and 5×7 inch prints easily when hand-held. The film ISO range only extends to 200 ASA. The 28mm f/3.5 lens provides great depth of field, so it’s a point and shoot camera.

A fixed 1/60th second shutter speed on my Pen EE. That’s it. It’s the same if you set it on Auto or Flash on the original Pen EE. In the Auto mode, the selenium cell light meter sets the aperture automatically, while if you use the Flash mode, you can set the aperture from f/3.5 to f/22, but still at 1/60 second. That’s tricky.

I wanted to use the Sunny 16 rule with the camera, but the slowest print film available to me is ISO 100. Now the Sunny 16 rules says that for film speed for 100 ISO, the shutter speed will be 1/125 second at f/16 in bright sunny conditions. With the fixed shutter speed of 1/60, I would end up with pictures on the overexposed side by one stop. To compensate I would have to close down the shutter by another stop to f/22 to get an equivalent exposure.

The alternative is to set to f/16 and deal with the overexposure later with digital correction (by increasing shadow). In most cases, this will be fine, since the film has enough latitude to handle some overexposure and still produce a decent image. However, since the best color reproduction usually requires a slight under-exposure, it may still be a little too much.

This also means that to use the Pen EE in manual mode with Sunny f/16, we are limited to 100 speed film or lower. 200 ASA film would overexpose by 2 stops, and while film has a great deal of latitude, that much over-exposure would be difficult to correct. Of course, in shade or in cloudy conditions, the aperture range is more than adequate.

In my case, I tend to overexpose an additional stop in cloudy over cast conditions – instead of closing down the aperture, I was actually opening it up from sheer force of habit because of conditioning with my Ricoh 500G and Olympus OM cameras. Now that I’ve a chance to examine the results, I would say f22 for Sunny conditions, f/16 for slight overcast, and f/11 for shade (f/8 and f/5.6 only if you are really unsure.)

As far as the film development goes, any photo processing lab can handle it since it’s just regular 35mm film processing. My advice is to have them develop and put it on a CD, and make a special note to NOT cut the film into strips. Don’t ask them for prints. Later, you can split the half frame images apart using cropping software. Make one copy of each digital image, and then crop the left side from one copy and the right side from the other copy. You can then save to a CD/Card/flash drive and get it printed like any other digital image. I use Walmart’s one hour service and they do a great job, costs $4.23 and beats sending it a specialty processor out of state.


Pen EE
Pen EE
Pen EE
Pen EE
Pen EE
Pen EE
Pen EE
Pen EE
Pen EE
Pen EE
Pen EE
Pen EE
Pen EE
Pen EE

Pen EE
Pen EE
Pen EE
Pen EE
Pen EE

Photographed with an Olympus Pen EE (28mm f/3.5) on Fuji Super 100 film


Pen EE Camera #168426
Pen EE Camera #168426

Pen EE pictures photographed with a Panasonic Lumix DMC LC-20 2 megapixel digital camera


text and images © 2007 ajoy muralidhar. all names, websites, brands and technical data referenced are the copyright or trademark of their respective owners.
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Fall comes pretty late to Montgomery County. The colors just seemed to peak just last week, a full 3 weeks after most of the Northeast had their glorious blazes. But then, we don’t have that many Maples here -just enough to set them off against the yellows and brown-golds and greens. We have lots of Sycamores, Pin and White Oak, Birches and Yellow Poplar that seem to hold on to their green a lot longer. Even now, there are a lot of trees that are still predominantly green, just starting to go yellow and red

These pictures were all taken around Gaithersburg, Rockville and Germantown. The woods around Robertson Park and Morris Park are especially beautiful this week. I was out these past 2 weekends with a few cameras. These pictures were all taken with my OM-2n. I used the Tokina RMC 70-210 f/3.5 and the Vivitar SERIES ONE 70-210mm f/3.5 Zoom lens

If the Tokina RMC 70-210mm Zoom appears to have the same specifications as the Vivitar SERIES ONE, it’s because they share the same design genes. Lens enthusiasts and fans of the Vivitar Series One lenses will recall that Vivitar had several versions of the Series One 70-210mm. Their first one was the Kino Precision made 70-210m lens (serial number 22xxxxx) that was built like a tank. Weighed 2 lbs and has a 67mm front element. The second version of the lens was made for Vivitar by Tokina (serial number 37xxxxx).

The Tokina made lens was smaller and lighter than the Kino version – just as sharp, and with a constant f/3.5 aperture like its predecessor, but with a 62mm front element. Vivitar went through their lens manufacturers real quickly in those days…. they then turned to Komine to produce the third version (Serial number 28xxxxx) and dropped Tokina. Tokina then produced the lens under its own name, the Tokina RMC 70-210mm f/3.5 (with their special multicoated lens) which I was lucky enough to get my hands on. It’s a very beautiful lens, silky smooth operation and a pleasure to use.

On a side note: You’d think that Vivitar would have stayed with Komine, since the 3rd version of the 70-210mm Series One is considered by many to to be superior to the previous two – it had a f/2.8-4 aperture instead of the fixed f/3.5 but weighed as much as the Kino version (860gms) in spite of the smaller 62mm front element. Vivitar went on to make a 4th and 5th version of the Series One 70-210mm, turning to Cosina for the manufacture. Alas, the quality just wasn’t the same. If you’re in the market, I’d suggest that you look for the Kino, Tokina and Komine versions and give the Cosina versions a pass.

I love the older version Kino made Vivitar Series One, but it’s a bear to carry and I can barely hand-hold it. Besides, it looks disproportionately large on the small frame of my OM SLR bodies. I always worry about damage to the mount with such a big lens. I can see how why the later versions (especially the 2nd and 3rd versions made by Tokina and Komine) became so popular – they were smaller, even though they weighed just as much. The Tokina version weighs 790gms. Still very heavy by modern standards. Hey, it has 14 elements in 10 groups.

Check out Mark Roberts’ photography website for a comparison of the different Vivitar Series One 70-210mm lenses. He prefers the Komine Version (#3) but I think the Tokina has better contrast. The Tokina RMC 70-210mm f/3.5, however does not have a Macro mode like it’s Vivitar Series One counterparts.


Tokina RMC 70-210mm
Tokina RMC 70-210mm
Tokina RMC 70-210mm
Tokina RMC 70-210mm
Tokina RMC 70-210mm
Tokina RMC 70-210mm
Tokina RMC 70-210mm
Vivitar Series One 70-210mm
Vivitar Series One 70-210mm
Tokina RMC 70-210mm

Tokina RMC 70-210mm
Tokina RMC 70-210mm
Tokina RMC 70-210mm
Tokina RMC 70-210mm
Tokina RMC 70-210mm
Tokina RMC 70-210mm
Vivitar Series One 70-210mm f/3.5
Vivitar Series One 70-210mm f/3.5
Tokina RMC 70-210mm

Photographed with an OM2n, Tokina RMC 70-210mm f/3.5, Vivitar Series One 70-210mm f/3.5 with Fuji Superia 200 film. I used a polarizer in the sunlight. The exposures in low light were at 1/125 sec at f/5.6


text and images © 2007 ajoy muralidhar. all names, websites, brands and technical data referenced are the copyright or trademark of their respective owners.
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That’s my nephew Vasu – a real milk lover. I was cleaning my Olympus OM 2n, wiping it down after a hike when spotted him sitting at the dining table with a glass and gallon of milk. He didn’t notice I was photographing him until the last shot, when he caught me out of the corner of his eye. Natural light imparts a certain undefinable quality to pictures thats almost impossible to duplicate. These were in color, but I desaturated them since I liked the black and white effect much better with the milk theme.


Got Milk?
Got Milk?
Got Milk?

Photographed with an OM 2n and Panagor 90mm f/2.8 1/250 sec at f/5.6 on Fuji Superia 200 film


text and images © 2007 ajoy muralidhar. all names, websites, brands and technical data referenced are the copyright or trademark of their respective owners.
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